thumb position

bassdogEmer · #1 08-08-2006, 10:48 AM

I would like to open up a thread on thumb position. I spent years going thru the first simandle and still do as a daily practice schedule. I just got Simandle book 2. I have been playing in thumb position for a long time but just started going thru a formal technique (simandle book 2) regarding thumb. The first thing I noticed was that the book says you are supoosed to pressdown on the strings on the side of your thumb BETWEEN the the first joint and the tip - wow I thought. for years I have wondered where you are supposed to use your thumb and consequently used the joint as the point as the point to hit the string. I can play in tune up to the Eb on the G string but I did find some things easier once I followed dear old Simandle's advice...
so please - all pitch in
what are your experiences - what part of your thumb do you use? Have any used this book - Simnadle book 2?? anything advice on stuff to watch out for??
interested for comments on this subject - apologies if there is some thread burried deep in the server on this already...I looked but couldn't find any. don't turn this into a thread on dominants or animas please...ha just kidding...no seriously don't

damonsmith · #2 08-08-2006, 11:19 AM

I am huge fan of book 1 and not a fan of book 2. I like Franco Petracchi's "Simplified higher positions", the Bach Suites and transposing the very simple but great 2 octave G major exercise on p. 37 in book 1 (or 38 in the international edition) up an octave. I think it is a good idea to work out thumb position exercises on all four strings if you can do them on the E string they will be easier on the G.
Two octave scales up all 4 strings is a good way to start the day.
I am also a fan of Rabbath's thumb position concepts minus the endpin. I especially like resting the neck on your shoulder - it gives you a lot more freedom.
oh, and I use spirocores.

TomGale · #3 08-09-2006, 01:41 PM

When I wrote my Technical Foundation Studies, vol 2 - the thumb positions (along with open hand and closed hand techs), - I divided the thumb positions into a range of a minor third (G to Bb, ex.), major third (G to B) and a fourth (G to C) BUT I also put in variations within each of those three positions. Years ago, I also went through Simandl, book 2 and was disappointed. Then, many years later, I began to understood it was written for a different bass setup than we use today - high nut, high bridge to accomodate those thick, gut strings. Does it still work today? Sure BUT we now have more and mostly better options in the thumb positions.
Tom Gale
ASODB.com

Justin K-ski · #4 08-10-2006, 12:01 AM

Where it's at...

If you can play your scales and maybe even more importantly arpeggios in tune with a clear tone, then all you have to do to learn even the hardest peices is play slowly.

damonsmith · #5 08-10-2006, 12:34 AM

Quote:

Originally Posted by TomGale

When I wrote my Technical Foundation Studies, vol 2 - the thumb positions (along with open hand and closed hand techs), - I divided the thumb positions into a range of a minor third (G to Bb, ex.), major third (G to B) and a fourth (G to C) BUT I also put in variations within each of those three positions. Years ago, I also went through Simandl, book 2 and was disappointed. Then, many years later, I began to understood it was written for a different bass setup than we use today - high nut, high bridge to accomodate those thick, gut strings. Does it still work today? Sure BUT we now have more and mostly better options in the thumb positions.
Tom Gale
ASODB.com

- Similar to Petrrachi, but then, I believe you are a contemporary of Petrrachi, am I wrong? Did your book and his come out around the same time?

bassdogEmer · #6 08-10-2006, 07:43 AM

Hey Thanks Tom. What and where can i find your book?? can I buy it from you directly? I have gone thru about 15 pages of Simandle Book 2 and I dont really like it. I find the excerises not that interesting - which is OK cuz they are excerises but they don't seem to address any type of modern playing and Tenor Cleff is a pain in the ass to read.

TomGale · #7 08-10-2006, 08:53 AM

My book came out in 1996. I don't know about his book. Mine is available from the American School of DB (asodb.com) or Lemur in Cal. Now, it does cover the thumb positions combined with the open hand (4 finger) and closed (Simandl) fingerings. The last two are introduced in Tech F.S., vol 1. If you are in a hurry, send a private message.
Tom Gale

damonsmith · #8 08-10-2006, 12:34 PM

Quote:

Originally Posted by bassdogEmer

... and Tenor Cleff is a pain in the ass to read.

Getting over that was one of the best things I ever did. I will admit to writing in a low note here or there but I can read it really well now.
It is not so hard. Dr. Morton has some good tips:
http://asodb.com/tips/tips0001.html

bassist1962 · #9 09-04-2006, 07:36 AM

Being relatively new to DB, I am trying to learn as much as I can in a rather short time. The advice I know will be thrown out will be to find a teacher. No one around here has a clue about DB. So my questions are twofold - Where does the thumb position start, and can or am I supposed to use my thumb as an extra fingering tool?

KSB - Ken Smith · #10 09-04-2006, 08:09 AM

I have the Simandls, Levinson and Gale and many many others.

I you are going to play Jazz and that's why you are working in thumb position, do yourself a favor and take out book I again. Use the Thumb for the open string an octave up and play the book one octave higher. It is way harder than some of the other exercises and you already are familiar with the book. Also, if you have the Zimmerman Duet Book, 24 Duets for 2 Double Basses, practice that up an octave as well.

I find that the classical training for thumb position is geared towards playing classical solos in Thumb position as well as the lower positions mixed. By taking book I up an octave, you will learn to cross all 4 strings alot better than you find on average with the other methods.

I subscribe to all the methods listed above but Jazz bass soloing needs something extra that I think Book I can give you with Simandl I played as written but up an octave!

Snakewood · #11 09-04-2006, 09:09 AM

bassdog, the best advice I can give you is find a teacher that is very fluent in the Pettracchi book. It is the BEST source of thumb position knowledge and will build your technique and thumb strength very well!!!

bassdogEmer · #12 09-04-2006, 01:35 PM

I dont want a teacher right now. I take lessons with Senator Eugene Wright every time I tour thru Los Angeles. One Lesson with him does me for about a year at least. My question was thrown out too see what others would say in regards to this. I have gone thru Simandle books one and two and the Zimmerman bowing book...so I wanted to see what else was out there.
Thanks you all for your help
BAssdog

damonsmith · #13 09-05-2006, 10:52 PM

Quote:

Originally Posted by KSB - Ken Smith

I have the Simandls, Levinson and Gale and many many others.

I you are going to play Jazz and that's why you are working in thumb position, do yourself a favor and take out book I again. Use the Thumb for the open string an octave up and play the book one octave higher. It is way harder than some of the other exercises and you already are familiar with the book. Also, if you have the Zimmerman Duet Book, 24 Duets for 2 Double Basses, practice that up an octave as well.

I find that the classical training for thumb position is geared towards playing classical solos in Thumb position as well as the lower positions mixed. By taking book I up an octave, you will learn to cross all 4 strings alot better than you find on average with the other methods.

I subscribe to all the methods listed above but Jazz bass soloing needs something extra that I think Book I can give you with Simandl I played as written but up an octave!

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